* NORMAN KIRKHAM RGI (SCOTTISH 1936 - 2021),FIREWORKSoil on canvas, signed; titled and dated "Jan 1, 2002" versoimage size 87cm x 51cm, overall size 102cm x 66cm Framed and under glass.Note: The date, in the artist's hand verso, confirms that "Fireworks" was completed on New Years Day 2002 presumably immediately after Kirkham was inspired by a Hogmanay fireworks display the night before. "Fireworks" is an extravagant explosion of colour and a spontaneous and confident work full of positivity and optimism for the year ahead. Artist, designer and lecturer, working in oil, watercolour, gouache and pastel, born and lived in Glasgow, where he attended the Glasgow School of Art, 1953–8, taught by David Donaldson. Worked as a designer, 1960–75, began painting then and was in 1977 a part-time lecturer at Glasgow School of Art. He was President of Glasgow Art Club, 1988–91, and Honorary Secretary of Royal Glasgow Institute of the Fine Arts from 1991. Won many prizes at the Institute. Also showed at RA, RSA, RP, Fine Art Society, Seen Gallery and elsewhere in group exhibitions. Later solo shows included Barclay Lennie Fine Art, Glasgow, from 1986. HRH The Duke of Edinburgh, Arthur Andersen, The Fleming Collection, The Royal Academy, the Royal Scottish Academy and Glasgow Museums hold examples of his paintings. His extensive obituary in The Herald by Jan Patience on 8th April 2021 confirmed that Norman Kirkham had died after contracting Covid-19.
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* PETER HOWSON OBE (SCOTTISH b. 1958),WITH A BACKWARD GLANCEpastel on paper, signed and dated '87, titled labels versoimage size 71cm x 52cm, overall size 96cm x 76cm Mounted, framed and under glass. Handwritten label verso.Condition is good overall, with no visible signs of restoration, damage, or known issues.
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),THE THIRD EYEpastel on paper, signed and dated '70image size 66cm x 50cm, overall size 93cm x 75cm Mounted, framed and under glass. Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.Condition is good overall.
* PHILIP ARCHER OBE,PASSAGE TO THE LAGOONoil pastel on paper, signedimage size 15cm x 22cm, overall size 36cm x 42cm Mounted, framed and under glass.Note: Philip Archer was Principal of Leith School of Art from 1991 - 2019. He studied Fine Art in Cardiff, Sheffield and also at the Royal College of Art. He has exhibited widely but focuses on the triangle between Edinburgh, London and Cardiff. Philip is past President of Visual Art Scotland and a judge for the Salvesen Travel Scholarship. Philip Archer was awarded an OBE in the 2021 New Year Honours list. His citation ‘for services to art and education’ reflects Phil’s outstanding service to Leith School of Art in his 27 years as Principal and the profound impact made by the School in the lives of thousands of artists across the country during his time at the helm.
NO RESERVE Southeast Asia.- Wheatcroft (Rachel) Siam and Cambodia in Pen and Pastel, plates, folding map at end, bookplate of C. E. Rusbridge, some light spotting, occasional splitting at gutter, endpapers browned, original cloth, quite rubbed, spine slightly sunned, shelf-lean, 1928 § Houghton (Rev A. T.) Dense Jungle Green. The First Twelve Years of the B.C.M.S Burma Mission, photographic plates, contemporary ink ownership inscription to half-title, spine creased with a few chips to head, 1937 § Aung (Maung Htin) Burmese Drama. A Study, with Translations, of Burmese Plays, ink stamp of the People's Literature House Rangoon to front free endpaper, 1956, all but first with original wrappers, lightly rubbed with a few patches of soiling; and others Thailand, Myanmar and Cambodia related, v.s. (c.55)
Rock and Pop Posters. An assorted collection of posters and programmes, etc. including Eric Clapton interest (Red Bus/Royal Albert Hall limited edition poster 365/1000 and pastel portrait by P. Knight, 2008), Joy Division (Unknown Pleasures poster signed by Peter Hook and NME magazine signed by Peter Hook and Kevin Thomson), Bob Dylan, Pink Floyd, etc., mostly unsignedQTY: (10)
Oil on board, moored fishing boats in Mediterranean landscape, signed Day 94', 68 x 104cms, pastel portrait of a young girl, signed with monogram dated 67', 45 x 35cms, tropical seascape, 30 x 40cms, oil on board landscape, 39 x 49cms, over-painted print and a framed embroidery of birds (6)
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